Just a few pages later, the book opens up into some of the larger theoretical questions it will consider: “Beyond Broadway illustrates the widespread presence and persistence of musical theatre in US culture, examining it not as an object or a cultural artifact (as much musical theatre scholarship does), but as a social practice, a doing, a live, visceral experience of creating, watching, listening” (5) In Chapter 2, Wolf writes about the world of the “backstage diva,” here a woman in San Anselmo, California, named Marilyn Izdebski, who stands for a type the author argues you find in every town: “The female musical theatre director who works with kids after school and on the weekends, who teaches them dance or drama, and who directs them in shows can be found in most American towns” (71) The author raises questions about the ways diversity and politics impact these shows, the way they encompass town values, and how they function as ritual, empower their students, and offer their own internal cultures

中文翻译：

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超越百老汇：美国音乐剧的乐趣和前景，史黛西·沃尔夫（Stacy Wolf）。牛津：牛津大学出版社，2020；pp. 1 + 382,​​ 30 幅插图。精装书 99 美元，纸质书 29.95 美元，电子书 23.99 美元。

仅仅几页之后，这本书打开了一些更大的理论问题，它将考虑：音乐剧奖学金确实如此），但作为一种社会实践，一种行为，一种生活，创造、观看、聆听的发自内心的体验”（5）在第 2 章中，沃尔夫写到了“后台女主角”的世界，这里是一位女性加利福尼亚州圣安塞尔莫，名叫 Marilyn Izdebski，代表作者认为你在每个城镇都能找到的类型：“放学后和周末与孩子们一起工作的女性音乐剧导演，教他们舞蹈或戏剧，在大多数美国城镇都可以找到指导他们演出的人”（71）作者提出了关于多样性和政治影响这些节目的方式，它们包含城镇价值观的方式，以及它们如何作为仪式发挥作用，赋予学生权力，以及提供自己的内部文化